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Week 5 Notes

by: Sarah Doberneck

Week 5 Notes Art His 23

Sarah Doberneck

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Notes from week 5 of lecture
Dr. George Baker
Class Notes
25 ?




Popular in Modernism

Popular in Art History

This 4 page Class Notes was uploaded by Sarah Doberneck on Monday February 8, 2016. The Class Notes belongs to Art His 23 at University of California - Los Angeles taught by Dr. George Baker in Winter 2016. Since its upload, it has received 29 views. For similar materials see Modernism in Art History at University of California - Los Angeles.


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Date Created: 02/08/16
February 2, 2016 Vincent Van Gogh, Self-Portrait, 1888  Studio of the south, where he hoped painters and artists could come together and paint in the warn sunny climate of southern France  Seeing oneself as another o Van Gogh paints himself as a monk/Japanese o Turns back past European culture and classicism Primitivism: Travel back away from the now, Gauguin had always had been called to the past. His parents left France in 1850 and moved their family to Peru Gauguin, Bay of the Bretagne, 1889 & Two Tahitian Women, 1899  He moves himself not just out of Paris or France but out of Europe all together  Followed France’s colonial objectives  Uses unnatural colors o Paste, chalky, white flesh o Green, yellow tint of the women  The nude is now experiencing a shift in gender (female to male) and age (adult to child) o Also now has non-European subject  The boy is positioned beneath us and temporally before us o The body is deeply troubled by the fragmentation and unfinishedness o This is not a child of innocence  He has a somewhat problematic sex, the boys genitals seem to be defaced.  With the Tahitian women… o nothing has to do with the natural skin or color that would be seen on these women o Turning to a temporal and special otherness o Confronts racial ideals and the implications of one’s race o Neither face meets the viewers gaze, but they present their half nudity to the viewer, as Gauguin underlines with props of flowers o Not an attempt to transcribe reality, but it’s a fantasy Gauguin, Spirit of the Dead Watching, 1882  Painted toward the end of this first trip to Tahiti  This was one of his first lovers who was given to him by a neighbor family o The girl was only 13 at the time. He was 50  He talks about how she was silent and reserved then they became more acquainted and taught each other the names of stars  Attaches a story to this painting o He had gone to town and came back too late. It was dark and the lamp had gone out, he opens the door and sees his mistress looking at him with a look of fear. o There is a demon figure in the background o He wanted to paint her in the nude but couldn’t do so with a tone of lust/sex so he chose fear Degas, After the Bath, 1866 & The Tub, 1886  Never let go of the body  Where does it exist? The stage, the brothel, and domestic privacy  Seem not to be classicizing at all o They are fragmented, and shown from behind Renoir, The Large Bathers, 1884-87  Everything is about the visual pleasure  Its utopia, the body is shown from all sides Gauguin, Exotic Eve, 1890 & The Loss of Virginity, 1890-91  Reaction to the utopian nude of Renoir  Not painterly art  Themes of the fall of purity to impurity  Ambiguity of a return to origin/culture Gauguin, The Birth of Christ, 1896  Back to his religious paintings  Translated into items that Tahitians would realize in relation to the nativity scene Boucher, Odalisque, 1745  Oblique lines  Back view of the woman  Influenced Dead Spirit Watching Gauguin, Ya Orana Maria, 1891 & Mahana No Atua, 1894  Conversion to Christianity is shown here as he puts the Tahitians into European scenes Gauguin, Where do we come from…., 1897  Summary of his primitive painting  Ironizing the questions about Tahitian origins  A painting form the past, arises from an archaic site  Wanted to have t read from right to left  Dislocated spaces, non-coherent symbols  Lines that flow like water through the painting  Looks like a forest space where one confronts darkness and distance/sight  Spiritual visions of his work are intensified and more easily identified  Dreamscape/fantasy-scape  Figures are disjoint form each other o Seem to be in different landscapes, don’t interact  No clear answer to the questions in the work of for the artists  Involves an attempt to engage with the eyes of European subjects who gaze upon it February 2, 2016 Gauguin, Self-Portrait 1889 & Self Portrait with Idol, 1893  Assertion of art and fantast/dream, lack of reality  Beginning of abstraction, no more copying the way the world appears  Subjectivity and identity are at stake o Not about the typical European male o He paints himself as St. John beheaded alongside a scared Tahitian idol Van Gogh, Self-Portrait, 1889  He paints at least 40 self portraits  Embraces change, the self becomes different o Opposed to cultural difference without, there is the darkness within  Takes paint, light, and color as far as impressionism can go. Paint as paint, and paint as light  Ambitions for political art, both died very young  Thick brush strokes, blue color scheme takes over both the background and foreground  Assertion that the eyes are seeing past what is viewable Van Gogh, The Shoes with Laces, 1886-88 and The Potato Eaters, 1885  Started as an artist late in life  Painted in relationship to a palate of dust, dirt, ad Earth  Realism  Personifications of beings, the laborers o Female shoe and male shoe  Identifying with their labor, but has the paint become part of what they are Tenebrism: shadows, darkness sense of a deep movement from black. Flight from the modern, going back into the 1600’s with Rembrandt, self-portrait & slaughtered Ox 1658 Van Gogh, The irises, 1889 o Everything is in motion, like its alive o Not just about flowers, but the genital organs of the plants Van Gogh, The Starry Night, 1889 o Began to think about metaphors for the way he applied his thick paint o Interested in the way his paint lines could be similar to textiles Van Gogh, Harvesting Wheat…, 1888  Spermatic language of his paint  Life giving aspects of his paint  Return to peasant laborers  Staring into the sun itself Van Gogh, The sower, 1888  The sun became doubled: the ideal sun (the heavens/God) compared to the rotten sun (madness)  Deeply engaged in the natural  Coples Millet, The Sower, 1850  Stare up, directly into the night Van Gogh, La Berceuse, 1889  On of five paintings of her  Cared for by them, is distressed about how people have to take care of him  Solar-colored, excessive light


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